skej21

I use my iPad for music in PDF form too. It's great! I have this in my pedal board too... Really useful! http://airturn.com/

Sorry for hijacking the OP's thread but im in the EXACT same boat... I tried contacting the Oracle (Bass Doc) but no response. I've gone through two, one from WD which was dreadful and the other from a different parts place that was as bad. I'm happy to pay for a custom cut if someone could point me in the right direction? I have the original for use as a template too.

The biggest difference is that the Fender SKB cases (this new one for the 2012 US standards and the older one) are fitted with TSA approved locks. These are a requirement when travelling to/from the US as they have a master key and can be opened, inspected and locked again during transit. They (TSA) are well within their rights to smash and open any other baggage locks to inspect if they feel they need to (and have done!) so I imagine Fender fitted these locks to avoid cases being broken as they export their products out of the US. Great cases and as secure/sturdy as Hiscox IMO.

[quote name='skankdelvar' timestamp='1358481596' post='1940067'] Very true and a wise analysis. Though I don't imagine that the BGM guys get to go to the sort of 'industry parties' where the champagne magnums go pop and oiled Brazilian transexuals ram industrial quantities of primo grade charlie up the guests' noses. [/quote] You've obviously never been to Musikmesse then

[quote name='silddx' timestamp='1358438059' post='1939161'] Are you being serious? [/quote] Haha no. Sarcasm obviously isn't as easy to detect in text as the blatant mistakes in BGM!

They were asking for trouble really. Creating a magazine for bass fan boys who love nothing more than correcting other bass player's bass knowledge and hours of staring at tiny details on spec sheets. They were always going to be faced with pedantry of this kind regarding the magazine!

I always prefer a Prazz neck but have played a couple of Jacision necks and they were great too.

[quote name='Etienne' timestamp='1357936717' post='1930918'] In the interests of disclosure, I should mention that I'm currently selling one of these! The quality of these is very good at the price point IMO- I handle and work on Korean-made guitars and basses on a daily basis in my job, and the quality is comparable with instruments selling at twice the RRP of this. I'm selling mine purely because the neck + middle pickup arrangement doesn't really gel with the tone that I want to achieve, and I have too many instruments anyway! The short-scale makes this effortless to get around on, and the neck has a nice comfortable profile (narrower width than a P-bass, slightly deeper than a Jazz). The short scale means that it balances well on a strap, despite the body shape and the light weight of the instrument. I think I'm just a died-in-the-wool Fenderhead when all's said and done, despite my attempts to branch out... Hope that helps! [/quote] Yes and no lol. The idea of this is to branch out from Fender again (as I too am a Fenderhead!) and fear I may be buying it and selling it in a few months because I can't get on with it. I've played one of these for a few hours today and totally agree that quality is exceptional and a steal at under £300. I also feel it will be a good bass for my students who sometimes cant bring their instruments to lessons and won't be getting their hands on my Fenders and for just picking up 'round the house without fear of dinging it on the door handle etc Hmmm. Might have to flip a coin at this rate lol!

I'm looking at buying this bass (for a number of reasons) but just wondered what people think of them (preferably people who have owned one!)? There doesn't seem to be much info about them on the forum and I basically need some reviews either way about long term suitability. I've noticed that a few people on here have sold them on, so I'm also wondering if this is because of quality, practicality/comfort (due to the short scale) or just falling out if love with it? Thanks in advance for the inevitable wealth of good advice!

Kudos to the OP... My memory skills used to be pretty damn good before I learned to read dots. Now my memory sucks because I notate stuff to help me remember it. We both get it out on the bass though, so we just have totally different ways of being a musician IMO!

Sold a Squier VM jazz to Shabbs and the payment was sent easily and quickly. Great communication and a pleasure to deal with. Don't hesitate in dealing with Shabbs... One of the many good basschatters out there!

I have three basses and all of them are passive but I always run them through my aguilar tone hammer outboard preamp. Get the added tone options of a preamp without the temptation to fiddle for every song. Ideal for me.

My dad used to listen to lots of Queen and The Housemartins, so John Deacon and Norman Cook for me.

Totally agree. Still a great portal to buy and sell but makes it much more difficult to casually drop in on an item and view potential interested parties, questions asked/answered about the item and price drops etc. more efficient but more clinical IMO.

[quote name='karlfer' timestamp='1354825410' post='1891026'] That exact same thing happened with me last week when I had my Precision Deluxe/Status up for sale for a short time. Their bass advertised at £1399, mine at £600. I would have had to find about £830 Mine was only up for sale to grab the afore mentioned Desert Gold Bongo, which I missed out on. Karl. [/quote] It wasn't some sort of Fender Jazz was it? With a matching headstock? Guy was a total chancer, cheeky and not in keeping with all of the other excellent communications/transactions I've been involved with on this forum. I suppose sooner or later (statistically) you're going to come across a muppet. He also contacted me AFTER I had sold the bass asking if wanted to buy his outright...

It annoys me when you say 'no trades' and then someone wastes your time with PMs that say 'I'll swap your £400 bass for my £1500 with you giving me £1100 cash'... Erm, no!

If you're giving up the gigging, you should hand over your all your nice gear... It's only fair

[quote name='Hobbayne' timestamp='1354488537' post='1886674'] I have been having trouble with the little grub screw on the P Bass G string saddle, it seems that the vibrations etc, are causing the screw to come loose and drop the saddle. I have sorted it by a little silicon to keep it tight. This however, had me checking the action every couple of weeks, and I was wondering how often do you all tweak your action? [/quote] Once, when I buy the bass. After that, I've never had to bother with it. Most of my basses have been pretty settled and haven't needed any 'tweaking'... Maybe I've just been lucky?

Just bought my Y.O.B... Ever since buying my first bass and seeing one on the wall, I've always wanted a Fender '75 Reissue Jazz with Ash body and rosewood 'board with pearloid block inlays. Then one popped up the other day and it happened to be my Y.O.B. (1985). A beautiful 1985 MIJ '75 Reissue. Grasping at the idea of 'fate' playing some part, I convinced the better half and snapped it up. My dream bass and a vintage bass in the making (only about 10 more years to go!). Result

Don't forget the more recent classic 'Christmas Time (Dont let the bells end)' from The Darkness... More of this please!

[quote name='Floyd' timestamp='1354175862' post='1882963'] Digital Village hasn't been good for me. I bought a Gibson guitar off them a couple of years ago. All the Gibson security seals on the box were broken. I always suspected it was returned. [/quote] In the defence of the shop, they've bought the guitar and will want to check it for damage/faults/set up etc BEFORE selling it on to a customer. Also, with Gibson's recent history of dreadful quality control, i'd think they were idiots if they didnt open it to check it over. How are they going to do that without opening the box? It's this kind of opposing opinion that makes customer service in music retail so difficult. What's ideal for one customer will most likely result in the loss if another.

Spend a tad more and get a Peavey Grind 6. It'll be worth it!

[quote name='Oscar South' timestamp='1352571291' post='1864794'] Anyone here had much experience with this? I did an all day session today that I really thought was quite incredible, allowed me to play complex passages with a presence and feel unlike I had before, and I saw and heard singers voices change dramatically with only a few minor posture adjustments. I need to know more!! Anyone else done any study of this method? Any experiences or insight to share? [/quote] Studied it as part of my secondary teacher training as it was suggested (a long time ago) it could improve problems musicians have (ie back pain, posture issues etc) if dealt with at a younger age with pupils. However, been proven to have very few applications for musicians as the alterations for posture are more 'common sense' and correcting bad habits. Outside of a few minor adjustments, it has been proven to be mostly ineffective in terms of long term practice (and in some cases) has actually made some issues worse for musicians, as the postures suggested conflict with correct instrument postures. It was even proven that the initial development (for respiratory and breathing issues) was not applicable to musicians who were dependant on breathing to produce a sound as they already had good breathing techniques, making the Alexander technique redundant. However, just because it has no scientific evidence to back it up, it has been noted that it has a psychological impact on some patients. So if it makes you play better (regardless of how) then it's worth a shot.

[quote name='clarket2' timestamp='1351719292' post='1854709'] Hello again, I’m currently preparing a piece of loop based music for a dissertation submission next year, however, I have come across a problem that I felt might be interesting to share and see what everyone else thinks. Here is the issue: after attending a fantastic masterclass with Steve Lawson, I was put on to the idea that really interesting and exciting things occur when you have loops that are out of time with each other and so interact and evolve as the piece progresses. Indeed what makes a lot of looped stuff go stale is the fact that it is inherently repetitive and so keeping a piece from getting boring can be a challenge. Therefore, what I’ve wound up producing is essentially soundscape backdrops that provide an (approximately) free time bed over which to play melodic or rhythmic ideas. It’s still a work in progress but I’m getting closer to something that is sounding interesting. My real issue is that as part of my dissertation submission I have to provide a score of the music. This is causing me a serious headache. A tutor suggested that I make considerable use of the fermata sign, which I see would help but it is still a bit vague really and doesn’t really communicate what is actually being heard. I was wondering if anyone knows of a better solution or maybe even different system entirely that would be suitable? Cheers, Tom [/quote] If it was me, I would score all of the loops as 'cells' (similar to 'In C' by Terry Riley) and then number them all. Have them on a couple of pages at the start of the music. Then score the part that you will play over the loops and have it run parallel with a time line. Then mark on the 'live' bass score the numbers of each cell at different points on the time scale showing when each one will be triggered/introduced into the piece. Just an idea, but you will be able to condense most of the 'cells' to one or two pages and it will make your score look less messy if it just has the addition of a few numbers and a time scale to signify the introduction of each loop/'cell'. Hope that helps a bit